MikeRivers
01-22-2009, 11:04 AM
Not my usual detailed report since I'm busy making money, but here are some observations of interest:
Winter NAMM 2008
RME 16-channel and 32-channel A/D and D/A converters
M-32AD, M-16AD 32- and 16-channel A/D converters:
Analog 1/4” TRS or D-sub inputs. Outputs are MADI (output and pass-through for stacking additional converters) and ADAT optical. MIDI In and Out for remote control, word clock input and output.
32 channels up to 96 kHz, 16 channels at 192 kHz,
M-32DA, M-16DA 32 32- and 16-channel D/A converters
MADI (stackable as above) and ADAT optical input to 1/4” TRS or D-sub outputs. MIDI In and Out for remote control, word clock input and output.
32 channels up to 96 kHz, 16 channels at 192 kHz
The 16- and 32-channel units are in identical packages, differing only in the number of analog connectors. The 16-channel version has only one digital board installed and has no fan (lower power consumption and less noise)
http://www.rme-audio.de/en_press_downloads.php?page=content/press/m32ad_m16ad
http://www.rme-audio.de/en_press_downloads.php?page=content/press/m32da_m16da
Lynx Rediscovers Analog Level Controls
Lynx Studio Technology extends their Aurora line of A/D/A converters with the Aurora 16-VT which incorporates analog input and output trimmers to adjust the analog level for 0 dBFS from +8.5 dBu to +24 dBu. Converter boxes have long had fixed reference levels, with no common standard. The Aurora 16-VT allows the engineer to set his preferred reference level or adjust it to accurately match equipment to which it’s interfaced.
http://www.lynxstudio.com/news_press_detail.asp?i=57
Focusrite Liquid Saffire 56 Firewire Audio Interface with Liquid Preamps
Firewire audio interface with 8 mic inputs, two of which feature ten software emulations from the Focusrite Liquid preamp library. This is an update and upgrade from the Pro 26, with 16 channels of ADAT optical, stereo S/PDIF, MIDI and word clock I/O. A built-in DSP mixer provides routing and near-zero latency monitor mixing.
http://www.focusrite.com/products/saffire/liquid_saffire_56/
JoeCo Black Box Recorder
Housed in a 1 rack space enclosure, the Black Box Recorder records 24 tracks of 16- or 24-bit audio up to 96 kHz sample rate on a standard removable USB2 hard drive. Intended primarily for capturing a performance rather than studio recording, it features fast operation as well as a fairly extensive menu for more selective recording and monitoring. A headphone jack allows monitoring of individual channels (so you can find out where the buzz is coming from) and a built-in DSP mixer allows monitoring of a rough mix. There’s even a keyboard port for naming tracks. As shown at NAMM, it’s supplied with breakout cables to 1/4” TRS plugs for direct connection to a mixer’s channel insert jacks. Eight rear panel TRS jacks pass through the inserts for eight channels so you don’t lose them all to recording. Other I/O (ADAT optical, balanced analog, and AES/EBU) is optional. Recording format is mono broadcast wave, easily importable to any DAW. By the way, Joe of JoeCo is one of the original designers of the SaDIE workstation.
http://www.capturingperformance.com
Life in the 16-44/48 Lane
Not all pros need 24-bit 192 kHz recording. At NAMM, we saw a lot of really useful gadgets with 16-bit converters and limited to 44.1 and 48 kHz sample rate. Converter technology has improved to the point where you don’t need to use brute force to get a usable signal-to-noise ratio, so here are some low cost and handy upgrade replacements for the typical sound card built into most computers.
Samson Studio GT Powered Monitors with USB Audio Interface
These desktop-sized monitors go one step further toward getting clutter and haywire off the desk by incorporating a bi-directional USB audio interface with two combo XLR-1/4” inputs for mic, instrument, or line sources, stereo RCA and 1/8” auxiliary inputs, and two 1/8” headphone jacks with individual level controls. The 4.5” woofer and 1” silk dome tweeter are driven by 20 watt power amplifiers. A copy of Cakewalk® Sonar LE music production software is included.
Shure X2u XLR-to-USB Adapter
The concept of a USB mic adapter has been around for a couple of years, and each new model seems to add another feature. The X2u, which may be the heftiest of the batch, includes a mic gain control to adjust the level going to the computer, plus a monitor mix to a 1/8” headphone jack with individual controls for no-latency mic input and computer playback levels.
http://www.shure.com/NewProducts/X2u/index.htm
Nady Systems UIC-80 series USB Interface Cables
These stereo audio interfaces consist of two audio input and output cables on one side of a breakout lump, and a USB cable on the other, differing only in the type of plugs on the audio end. The family includes two balanced XLR inputs and outputs, two unbalanced male 1/4” inputs and outputs, two RCA inputs and outputs, and two unbalanced 1/4” male inputs and two RCA outputs. There’s also a MIDI IN/OUT cable in the series.
Samson Q2U USB and XLR Handheld Mic
Designed for both live sound and recording, the Q2U features both a conventional XLR analog output and a USB port for recording output and computer audio playback and mic monitor input to a 1/8” headphone jack. Both the XLR and USB outputs are live simultaneously, a convenient way to record a speaker using a A system. (not yet on the Samson web site)
Next Generation Hand Held Recorders
The Zoom H4n retains many of the features of Zoom’s initial H4 model while, adding several new capabilities including the ability to record with both the internal and external mic/line inputs for true simultaneous 4-channel recording. A greatly improved user interface with a larger LCD makes operation easier and more intuitive. The built-in mics (a new design) are now adjustable for 90 or 120 degree coverage, 24-bit 96 kHz broadcast wave PCM recording as well as several MP3 modes is offered, and it accommodates up to 32 GB SDHC flash memory cards. A “stamina” mode turns off some unused functions, allowing up to 10 hours of operation on a pair of AA cells. A 1 GB SD card and a copy of Cubase LE software is included, A remote controller is optional.
http://www.engadget.com/2009/01/06/samson-delivering-zoom-h4n-handheld-recording-device-at-ces/ (not yet on the Samson web site)
TASCAM has gone both upscale and downscale from their original DR-1 with the DR-07 and DR-100. The DR-07 has fewer “musician” features than the DR-1, with the focus on more straightforward 16/24-bit 44.1/48 kHz or MP3 recording. The larger and heavier DR-100 provides phantom powered XLR connectors for external mics (in addition to its built-in cardioid and omni mics), a built-in speaker, power from an internal rechargeable battery or AA cells with automatic switchover in case one power source runs low. It has good heft, and good ergonomics with a solid metal case and a smooth thumbwheel dual gain control reminiscent of the HD-P2 portable DAT recorder.
http://www.tascam.com/catalogue;40,12.html
Akai APC40 Ableton Live Controller
Users of Ableton’s Live interactive loop-based production and performance software will appreciate this USB gadget. It’s bi-directional, with a matrix of buttons for clip selection and mult-color illumination to indicate clip status. Rotary controls and sliders control track parameters. Developed in partnership with Abelton, it’s usable right out of the box with no mapping setup required, but it can be customized to suit the advanced user.
http://www.akaipro.com/apc40
SPL 2Control Speaker and Headphone Monitor Controller
The 2Control allows connection of two stereo sources, two sets of powered speakers, and two sets of headphones, with a third mono speaker output for a center channel or subwoofer. A single large volume control adjusts the selected speaker output, with an independent volume control for each headphone output. The 2Control features SPL’s headphone crossfeed innovation which simulates the frequency-dependent crosscoupling of speakers in a room, allowing the user to reduce the exaggerated stereo effect when mixing on headphones.
http://www.spl-usa.com/index.php?id=339&L=1
Testing, Testing – Test Equipment
Phonic PAA-6 Dual Channel Audio Analyzer
This hand held audio analyzer has been in and out of Phonic’s catalog for several years, but has finally seen the light of day, or at least the light of the Anaheim Convention Center. It has a large color LCD touch screen and performs spectrum analysis (RTA and FFT), provides a dual channel oscilloscope display, measures reverberation time (RT60), phase (Lissajous pattern), absolute polarity, and LEQ (noise exposure).
http://www.phonic.com/index.php?target=news&mode=details&news_id=107
WiNRADIO Communications WR-G33WSM Wireless Microphone RF Spectrum Analyzer and Monitor Receiver
Covering the UHF, VHF, and FM broadcast range, the WR-G33WSM is a hand-sized receiver which connects via USB to a Windows or Mac computer and displays the RF spectrum, allowing quick identification of open frequencies. The spectrum display can be annotated for easy monitoring of mics in use for a particular show or venue. A detector allows aural identification of any RF source as well as a display of the audio spectrum, and recording of the source. It’s also available as a package with a computer, installed in a shipping or roadie-proof case, convenient for RF site survey in advance of an installation or show.
http://www.winradio.com/home/g33wsm.htm
Winter NAMM 2008
RME 16-channel and 32-channel A/D and D/A converters
M-32AD, M-16AD 32- and 16-channel A/D converters:
Analog 1/4” TRS or D-sub inputs. Outputs are MADI (output and pass-through for stacking additional converters) and ADAT optical. MIDI In and Out for remote control, word clock input and output.
32 channels up to 96 kHz, 16 channels at 192 kHz,
M-32DA, M-16DA 32 32- and 16-channel D/A converters
MADI (stackable as above) and ADAT optical input to 1/4” TRS or D-sub outputs. MIDI In and Out for remote control, word clock input and output.
32 channels up to 96 kHz, 16 channels at 192 kHz
The 16- and 32-channel units are in identical packages, differing only in the number of analog connectors. The 16-channel version has only one digital board installed and has no fan (lower power consumption and less noise)
http://www.rme-audio.de/en_press_downloads.php?page=content/press/m32ad_m16ad
http://www.rme-audio.de/en_press_downloads.php?page=content/press/m32da_m16da
Lynx Rediscovers Analog Level Controls
Lynx Studio Technology extends their Aurora line of A/D/A converters with the Aurora 16-VT which incorporates analog input and output trimmers to adjust the analog level for 0 dBFS from +8.5 dBu to +24 dBu. Converter boxes have long had fixed reference levels, with no common standard. The Aurora 16-VT allows the engineer to set his preferred reference level or adjust it to accurately match equipment to which it’s interfaced.
http://www.lynxstudio.com/news_press_detail.asp?i=57
Focusrite Liquid Saffire 56 Firewire Audio Interface with Liquid Preamps
Firewire audio interface with 8 mic inputs, two of which feature ten software emulations from the Focusrite Liquid preamp library. This is an update and upgrade from the Pro 26, with 16 channels of ADAT optical, stereo S/PDIF, MIDI and word clock I/O. A built-in DSP mixer provides routing and near-zero latency monitor mixing.
http://www.focusrite.com/products/saffire/liquid_saffire_56/
JoeCo Black Box Recorder
Housed in a 1 rack space enclosure, the Black Box Recorder records 24 tracks of 16- or 24-bit audio up to 96 kHz sample rate on a standard removable USB2 hard drive. Intended primarily for capturing a performance rather than studio recording, it features fast operation as well as a fairly extensive menu for more selective recording and monitoring. A headphone jack allows monitoring of individual channels (so you can find out where the buzz is coming from) and a built-in DSP mixer allows monitoring of a rough mix. There’s even a keyboard port for naming tracks. As shown at NAMM, it’s supplied with breakout cables to 1/4” TRS plugs for direct connection to a mixer’s channel insert jacks. Eight rear panel TRS jacks pass through the inserts for eight channels so you don’t lose them all to recording. Other I/O (ADAT optical, balanced analog, and AES/EBU) is optional. Recording format is mono broadcast wave, easily importable to any DAW. By the way, Joe of JoeCo is one of the original designers of the SaDIE workstation.
http://www.capturingperformance.com
Life in the 16-44/48 Lane
Not all pros need 24-bit 192 kHz recording. At NAMM, we saw a lot of really useful gadgets with 16-bit converters and limited to 44.1 and 48 kHz sample rate. Converter technology has improved to the point where you don’t need to use brute force to get a usable signal-to-noise ratio, so here are some low cost and handy upgrade replacements for the typical sound card built into most computers.
Samson Studio GT Powered Monitors with USB Audio Interface
These desktop-sized monitors go one step further toward getting clutter and haywire off the desk by incorporating a bi-directional USB audio interface with two combo XLR-1/4” inputs for mic, instrument, or line sources, stereo RCA and 1/8” auxiliary inputs, and two 1/8” headphone jacks with individual level controls. The 4.5” woofer and 1” silk dome tweeter are driven by 20 watt power amplifiers. A copy of Cakewalk® Sonar LE music production software is included.
Shure X2u XLR-to-USB Adapter
The concept of a USB mic adapter has been around for a couple of years, and each new model seems to add another feature. The X2u, which may be the heftiest of the batch, includes a mic gain control to adjust the level going to the computer, plus a monitor mix to a 1/8” headphone jack with individual controls for no-latency mic input and computer playback levels.
http://www.shure.com/NewProducts/X2u/index.htm
Nady Systems UIC-80 series USB Interface Cables
These stereo audio interfaces consist of two audio input and output cables on one side of a breakout lump, and a USB cable on the other, differing only in the type of plugs on the audio end. The family includes two balanced XLR inputs and outputs, two unbalanced male 1/4” inputs and outputs, two RCA inputs and outputs, and two unbalanced 1/4” male inputs and two RCA outputs. There’s also a MIDI IN/OUT cable in the series.
Samson Q2U USB and XLR Handheld Mic
Designed for both live sound and recording, the Q2U features both a conventional XLR analog output and a USB port for recording output and computer audio playback and mic monitor input to a 1/8” headphone jack. Both the XLR and USB outputs are live simultaneously, a convenient way to record a speaker using a A system. (not yet on the Samson web site)
Next Generation Hand Held Recorders
The Zoom H4n retains many of the features of Zoom’s initial H4 model while, adding several new capabilities including the ability to record with both the internal and external mic/line inputs for true simultaneous 4-channel recording. A greatly improved user interface with a larger LCD makes operation easier and more intuitive. The built-in mics (a new design) are now adjustable for 90 or 120 degree coverage, 24-bit 96 kHz broadcast wave PCM recording as well as several MP3 modes is offered, and it accommodates up to 32 GB SDHC flash memory cards. A “stamina” mode turns off some unused functions, allowing up to 10 hours of operation on a pair of AA cells. A 1 GB SD card and a copy of Cubase LE software is included, A remote controller is optional.
http://www.engadget.com/2009/01/06/samson-delivering-zoom-h4n-handheld-recording-device-at-ces/ (not yet on the Samson web site)
TASCAM has gone both upscale and downscale from their original DR-1 with the DR-07 and DR-100. The DR-07 has fewer “musician” features than the DR-1, with the focus on more straightforward 16/24-bit 44.1/48 kHz or MP3 recording. The larger and heavier DR-100 provides phantom powered XLR connectors for external mics (in addition to its built-in cardioid and omni mics), a built-in speaker, power from an internal rechargeable battery or AA cells with automatic switchover in case one power source runs low. It has good heft, and good ergonomics with a solid metal case and a smooth thumbwheel dual gain control reminiscent of the HD-P2 portable DAT recorder.
http://www.tascam.com/catalogue;40,12.html
Akai APC40 Ableton Live Controller
Users of Ableton’s Live interactive loop-based production and performance software will appreciate this USB gadget. It’s bi-directional, with a matrix of buttons for clip selection and mult-color illumination to indicate clip status. Rotary controls and sliders control track parameters. Developed in partnership with Abelton, it’s usable right out of the box with no mapping setup required, but it can be customized to suit the advanced user.
http://www.akaipro.com/apc40
SPL 2Control Speaker and Headphone Monitor Controller
The 2Control allows connection of two stereo sources, two sets of powered speakers, and two sets of headphones, with a third mono speaker output for a center channel or subwoofer. A single large volume control adjusts the selected speaker output, with an independent volume control for each headphone output. The 2Control features SPL’s headphone crossfeed innovation which simulates the frequency-dependent crosscoupling of speakers in a room, allowing the user to reduce the exaggerated stereo effect when mixing on headphones.
http://www.spl-usa.com/index.php?id=339&L=1
Testing, Testing – Test Equipment
Phonic PAA-6 Dual Channel Audio Analyzer
This hand held audio analyzer has been in and out of Phonic’s catalog for several years, but has finally seen the light of day, or at least the light of the Anaheim Convention Center. It has a large color LCD touch screen and performs spectrum analysis (RTA and FFT), provides a dual channel oscilloscope display, measures reverberation time (RT60), phase (Lissajous pattern), absolute polarity, and LEQ (noise exposure).
http://www.phonic.com/index.php?target=news&mode=details&news_id=107
WiNRADIO Communications WR-G33WSM Wireless Microphone RF Spectrum Analyzer and Monitor Receiver
Covering the UHF, VHF, and FM broadcast range, the WR-G33WSM is a hand-sized receiver which connects via USB to a Windows or Mac computer and displays the RF spectrum, allowing quick identification of open frequencies. The spectrum display can be annotated for easy monitoring of mics in use for a particular show or venue. A detector allows aural identification of any RF source as well as a display of the audio spectrum, and recording of the source. It’s also available as a package with a computer, installed in a shipping or roadie-proof case, convenient for RF site survey in advance of an installation or show.
http://www.winradio.com/home/g33wsm.htm